Alien, Serial Killer, Sadistic Dentist—Andy Karl Has Worn Many Different Hats

The hit revival of Alan Menken and Howard Ashman's Little Shop of Horrors recently welcomed three-time Tony nominee Andy Karl to Skid Row at Off-Broadway's Westside Theatre.

The Broadway favorite has stepped into the role of Dr. Orin Scrivello, D.D.S. opposite fellow Little Shop newcomers Jordan Fisher (Hamilton, Sweeney Todd, Dear Evan Hansen, Hadestown) and Tony winner Nikki M. James (The Book of Mormon, Suffs, Les Miserables) as, respectively, plant shop workers Seymour and Audrey.

Karl, Tony-nominated for his performances in Groundhog Day, Rocky, and On the Twentieth Century, has also been seen on Broadway in Into the Woods, Moulin Rouge! The Musical, Pretty Woman: The Musical, Rocky, The Mystery of Edwin Drood, 9 to 5, Legally Blonde, The Wedding Singer, Jersey Boys, Wicked, and Saturday Night Fever. His additional Off-Broadway credits include Teeth and Altar Boyz.

The comedic actor is also one of the few Americans who have won an Olivier Award: Karl received the honor for his work as Phil Connors in the London production of the Groundhog Day musical. The actor was also a creator and executive producer of the 2025 Hallmark movie Christmas Above the Clouds.

In the interview below for the Playbill series How Did I Get Here—spotlighting not only actors, but directors, designers, musicians, and others who work on and off the stage to create the magic that is live theatre—Karl shares how a friend (and a good dentist) helped him out of a career low and why he's relishing the chance to now play a dentist.

Where did you train/study?
Andy Karl: I’m a bit of a "Frankenstein’s Monster" of education. My mother was a middle school music teacher and church organist, so I was learning music before I could even reach the pedals. I spent my high school years moonlighting in dinner theatres, where nothing prepares you for a life in musical theatre quite like the smell of lukewarm Salisbury steak and the sound of a salad bar sneeze guard. I also studied art at the Maryland Art Institute, voice at Towson State, and eventually hit NYC for independent classes at Broadway Dance Center and the Producers Club. 

Honestly, though, my best teachers have been the characters I've played. I’ve been a cop, a boxer, an alien, and a serial killer. If you need someone to arrest you, punch you, or probe you, I’ve got the credits to back it up.

Was there a teacher who was particularly impactful?
There was a director at my university, Todd Pearthree. He was the kind of guy who treated a compliment like it was a taxable offense. He cast me in Grease, and one day during rehearsal he pulled me aside and said, “You know, you’re good. You could probably do this for a living.” That was it. No cinematic swell of violins, just a blunt observation that changed my life. I realized then that a tiny spark of encouragement is sometimes all you need to light a fire that lasts a lifetime.

How did this engagement come about? Is Orin a role you have wanted to play?
I threw my hat in the ring, and it actually landed! I’ve been a fan of the film since I was a kid in Baltimore. To me, [Little Shop film star] Steve Martin is a comedic deity. His Orin was the perfect cocktail of sadistic power, macho cool, and slapstick rolled into one. Playing Orin now feels like a gift to my 12-year-old self who loved an occasional buzz from a can of whipped cream.

What are the challenges/rewards of joining a long-running production?
The challenge is essentially "don't break the toy." You’re stepping into a machine that’s already humming. The person who originated the role is the North Star, and if you move too far left, you might accidentally take out a chorus member or break the props…which happened on my second day of rehearsal. My job is to respect the blueprint while sneaking in enough of my own "flavor" so I don't feel like a theatrical Xerox copy. 

The reward? Stepping into a hit is like jumping onto a moving sports car; it’s fast, it’s sleek, and you just hope you don’t stall it in front of a sold-out crowd.

What did it mean to you to win the Olivier for Groundhog Day?
I was in London recently, and "all the feels" hit me. Performing in the West End was a bucket-list dream; winning an Olivier was the "pinch me" that was completely unexpected. Of course, you can’t expect an award. So many stars have to align: the reviews, the timing, the budget, and the audience actually showing up. To get a statue just for doing the thing I love is an incredible honor.

Do you have a favorite theatrical experience?
The best experiences are always about the company I’m keeping. You spend eight shows a week with a cast and crew, and the best experiences come from creating a family. Altar Boyz, Jersey Boys, Legally Blonde, Moulin Rouge… They all stand out because we shared a "profound experience" on stage, with everyone who’s on the same page creating it together.

Dream stage roles or actors you’d like to work with?
I’m convinced Hugh Jackman and I would be excellent brothers in something. I’ve been lucky to share the stage with icons like Kristin Chenoweth and Allison Janney, and now at Little Shop, I’m working with Jordan Fisher and Nikki James. I’m living the dream.

Tell me about a time you almost gave up but didn’t.
Every actor contemplates quitting at least twice a week—usually while looking at their bank balance or a particularly harsh review. My big "I’m done" moment was in my late 20s. I’d done some Broadway replacement work, thought I’d "arrived," and then... silence. For a year and a half, the only thing I landed was a hard pretzel that cracked my front tooth. I was sitting on my couch, toothless and broke, yelling at the heavens that I was finished.

The next day, a friend told me to check and see if Jersey Boys was casting. I gave him every excuse in the book: "They won't see me," "I'm not right," "My tooth is a tragedy." He pushed me anyway. I fixed the tooth, got the audition, and it became one of the best experiences of my life. The lesson? Self-doubt is a liar, and sometimes you just need a good friend (and a good dentist) to get you back in the game.

What do you consider your big break?
It’s a series of "mini-breaks," but the catalyst was Altar Boyz Off-Broadway in 2005. Jerry Mitchell saw me there and put me in Legally Blonde, and the dominoes just kept falling. Now I’m back Off-Broadway in Little Shop! It feels full circle. Maybe I’ll be "discovered" all over again.

Is there a person you most respect in your field?
I’m constantly in awe of the people around me. My fiancé, Elise, has talent and energy that make me look like I’m napping by comparison. But some of my "Mount Rushmore" actors are Nathan Lane, Doug Sills, Christopher Sieber, and Denise Gough. Everyone has their favorites, but I remember seeing these actors' incredible performances at a time in my life that made me realize if I’m going to be an actor, I need to be that good.

What is your proudest achievement as an actor?
I’ve played everything from a "fighter with a heart of gold" to a "villain with a soul of black," which is basically a fancy way of saying I’ve worn a lot of different hats. My proudest achievement is simply the fact that I’m still here. From the dinner theatre days, where my paycheck was basically a handful of loose change, to leading a Broadway show, I’m proud of the hustle. 

And if I can make an audience forget their problems for two hours? That’s the real win.